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Steve Reich’s Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism. Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing—pulling listeners into the rhythm and possessing a raw immediacy, directness and energy. The premier performances of Drumming took place in December 1971 in New York City—first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made—and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden. Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich’s investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974.

"Hi again! It's been a couple years, but I've put together a new record, this time with my neighbor Stu and a few other friends. Stu's been tuning the piano Linda and I were using for our Lejsovka & Freund and Trouble Books recordings, and I've always enjoyed the test scales and vignettes he would run through checking his work.I floated the idea to collaborate on a sort of 70s/80s ECM kinda vibe, and soon started bringing my laptop and a couple microphones over to his house to collect his improvisations and have him add to pieces I had started. Other friends from the neighborhood dropped by to add parts here and there as well.The recordings were made primarily in the summers of 2016 & 2017 (with a break in-between to mourn the triumph of neo-fascism as well as the passing of beloved pets). Ultimately I tried to follow the feel of those summer nights and the tranquility they offered. Open air or at least open windows, drifting along, you know?"-KF, Spring 2018.Aqueduct Ensemble is a collaboration between Ohio based artist Keith Freund - who has previously released music as part of both Lejsovka & Freund and Trouble Books - and his neighbour Stu, who is a piano tuner and professional pianist. Their debut album together, "Improvisations On An Apricot" is the second release from label Last Resort, and follows G.S Schray's "Gabriel" (2017) - the sleeves for which were both designed by Keith, who does does all the art direction for the label. Beginning life in 2013 as an NTS radio show of the same name, Last Resort is run by Tom Cathcart from his home in London.

Composer and Golden Globe winning Jóhann Jóhannsson releases his first album for Deutsche Grammophon Recordings. It feels like a meditation over beauty and creativity Jóhannsson is a role model for the growing scene of contemporary composers who draw their inspiration from soundtracks, Minimalism, Ambient und electronic music. “Orphée describes the way out from the dark into the light inspired by mythical variations from Ovid to Cocteau. It’s the story of death and reincarnation as a metaphor for our society. Again Jóhannsson mixes acoustic elements combined with electronics, mysterious soundscapes paired with orchestral and a capella voices.

Solo Piano III – Abschluss der Solo Piano-TrilogieEs ist der Schlussakt – und wie immer tauchen vor dem Sprint in Richtung Ziellinie die letztenProbleme auf, müssen die letzten Lösungen gefunden werden. Wie die beiden vorangegangenenAlben findet es ein überwiegend glückliches Ende in C-Dur, doch auf dem Weg dorthin gibt esmehr Dissonanzen, Spannungen und Unklarheiten.Solo Piano III markiert einen weitaus schwierigeren Wendepunkt.Die Zusammenarbeit mit anderen Künstlern setzt er fort (u.a. Room 29 mit Jarvis Cocker, Ibeyi,Toddla T), doch mittlerweile ist es Chilly Gonzales egal, ob seine Musik jedermann gefällt odernicht. Fortan werden falsche Noten nicht mehr glattgebügelt: Die geheimnisvollen Akkorde undseltsamen Strukturen besitzen einen solchen Suchtfaktor, dass sie schließlich wie unvermeidlichklingen. Während Gonzales' eigens gegründete Musikschule, das Gonzervatory, ihren erstenJahrgang absolviert hat, ist ihr Lehrer wieder zum ewigen Schüler geworden – und das ohne Angst,die Musik für sich selbst sprechen zu lassen.Die musikalische Reinheit von Solo Piano III ist kein Gegengift für unsere Zeit, sie reflektiert alldas Schöne wie auch Hässliche, das uns umgibt.

In den letzten Jahren hat Orchestermusik auch außerhalb der Klassik und dessen Establishment anBedeutung gewonnen. Neil Leiter und Margaret Hermant, die beiden Masterminds des belgischen EnsemblesEcho Collective, haben zu dieser Entwicklung wesentlich beigetragen. Das Brüsseler Künstlerkollektiv ausklassisch ausgebildeten Musikern hat es sich zur Aufgabe gemacht, Hörer unterschiedlicher Musikgenreszusammenzubringen. Unter anderem durch Kollaborationen mit Stars Of The Lid, A Winged Victory For TheSullen oder Jóhann Jóhannsson. Für das neue Album hat sich die Formation "Amnesiac" vorgeknöpft, denfünften Langspieler von Radiohead aus dem Jahr 2001, und einer Neuinterpretation unterzogen. Spannend:Neil Leiter (Violine) hatte vor den Aufnahmen noch nie Radiohead gehört! Die Interpretation des Ensembleskommt allerdings ohne Stimme aus und bleibt ein instrumentaler Hörgenuss. "Thom Yorke sei jedoch herzlicheingeladen mitzumachen", äußerte sich Leiter. Vielleicht findet das Ganze also noch eine Fortsetzung. Mehrvon Echo Collective kommt mit Sicherheit ziemlich bald in die Läden, denn das Signing beim BerlinerNeoklassik-Label 7K! war mit der Aufgabe verbunden, zusätzlich ein Album mit eigenen Kompositioneneinzuspielen.

Der jüngst verstorbene Jóhann Jóhannsson beendete kurz vor seinem Tod sein neues Album.„Englabörn & Variations“ erscheint nun wie geplant. Es ist ein berührendes posthumes Zeugnis dereindringlichen Tonsprache des Komponisten. Auf dem neuen Doppelalbum hat sich Jóhannsson selbstmit seinem ersten Solo-Album aus dem Jahr 2002 auseinandergesetzt und diesem neue Variationenhinzugefügt. So enthält es eine Klavierversion des Titeltracks von DG-Kollege Vikingur Ólafsson undergreifende Chorstücke. Aber auch andere international bekannte Musiker, die Jóhannssonbewunderte, haben ihre Interpretationen hinzugefügt: u.a. Ryuichi Sakamoto, Ambient-Duo A WingedVictory for a Sullen, Komponist und Produzent Paul Corley. „Seine Musik ist herausragend in ihrerintensiven Klangfülle und lyrischen Dichte. Und sie ist für meine Ohren sehr isländisch“, so Sakamoto.Dass ausgerechnet das Album mit dem Jóhannsson seine Solo-Karriere begann diese nun beschließt,damit hat niemand gerechnet. Doch es zeigt ihn als den sensiblen Klangmaler und poetischenErzähler, der er war. Sein erstes Album hat auch nach 16 Jahren nichts an Kraft und Tiefe verlorenund Jóhannsson wollte das Alte neben dem Neuen erklingen lassen

Marquis Hawkes returns to where it all began! 4 club ready bangin' body jerkers. Limited hand stamped vinyl with inlays

Limitierte Vinylauflage der "Behind The Counter" Compilation von Max Richter, der hier einen faszinierenden Einblick in seinen musikalischen Kosmos gewährt, aus dem er seine einzigartige, künstlerische Vision schöpft. Feat. Mogwai, Boards Of Canada, Let's Eat Grandma, Kaitlyn Aurelia Smith, Godspeed You! Black Emperor, Philip Glass, Aphex Twin, Low, sowie klassische Werke von Rachmaninoff und Bach. Triple-LP auf grünem Vinyl mit 36 Tracks, plus einer zusätzlichen 7" mit 2 weiteren Tracks, plus eines Download-Codes zu den beiden CD-Mixsets.

Nachdem Lambert dieses Jahr europaweit Konzerte asugebucht gespielt und sein Debut auf Decca"Sweet Apocalypse" veröffentlich hat, folgen nun auch seine vorherigen Werke Lambert, The LostTapes und Stay In The Dark auf Decca - jeweils auch auf LP.

Written in 1913 by Luigi Russolo, The Art of Noise Manifesto marks the start of the modern music era. There wouldn’t be probably either John Cage or Musique concrète without the disruptive sound experimentations of the Italian Futurists at the beginning of the 20th century. The Futurist conception of music, indeed, made no distinction between the realm of the sound and that of noises: both of them were part of the same musical substance, the background of the human existence in the world, and therefore, a raw material ready to be manipulated by the artist. Starting from the founder and leader of the Futurism Filippo Marinetti, La Musica Futurista nell'Italia e nel Mondo is a compelling collection of pieces executed by some of the pivotal figures of the “art of noises.” Comes in a special "flap" deluxe gatefold sleeve, an Italian futurist newspaper replica.

Lubomyr Melnyk ist ohne Zweifel weltweit einer deraußergewöhnlichsten und anerkanntesten Pianisten. Mit seiner"Continuous Music" hat er eine so komplexe und technischanspruchsvolle Musik geschaffen, dass kein anderer Pianist in derGeschichte dieses Instrumentes diese Stücke spielen kann.

A stunning version of Steve Reich’s masterpiece of musical minimalism “Music for 18 Musicians” (1974-1976) performed live at Tokyo Opera House in 2008 by The Modern Ensemble and Synergy Vocals featuring the composer as guest performer. In the 1960s, with Terry Riley and Philip Glass, Reich gave pulse back to experimental music, he discovered tape-based techniques of looping and phasing using recordings of fragments of speech, and then molecules of musical material. “ (…)When Steve Reich released Music for 18 Musicians (ECM, 1978), it was a consolidation and major leap forward in the pulse-based music that the minimalist progenitor had been exploring on earlier compositions including “Four Organs” (1969), a piece that relied on nothing more than a six-note chord, yet was a near flat-out sonic assault. 18 Musicians was an altogether more complex and sophisticated work, with a broader textural palette based largely on tuned percussion—piano, vibraphone, marimba and xylophone—but also working with maracas, voice, strings, and clarinets to create a sweeping, hour-plus long suite that was hypnotic, melodic, and eminently accessible. With the mathematical precision by which its eleven sections and wrapping “Pulses” develop, it's a demanding suite to play (…)"

One of the most striking documents of Italy’s Minimalist movement, Giusto Pio’s "Motore Immobile" is a masterwork with few equivalents. Produced by Franco Battiato in 1979, at the outset of a long and fruitful period of collaboration between the two composers, and issued by the legendary Cramps Records, its triumphs were met by silence, before falling from view.Emerging on vinyl for the first time since its original pressing, "Motore Immobile" now sits within a reappraisal of a large neglected body of efforts made by the Italian avant-garde during the second half of the 1970’s and early 80’s. It is singular, but not alone. It resonates within a collective world of shimmering sound, one familiar to fans of Battiato, Lino Capra Vaccina, Luciano Cilio, Roberto Cacciapaglia, Francesco Messina and Raul Lovisoni.An exercise in elegant restraint - note and resonance held to the most implicit need. Where everything between root and embellishment has been stripped away. A sublime organ drone, against interventions of deceptively simple structural complexity - executed by Piano, Violin, and Voice. A sonic sculpture reaching heights which few have touched. A thing of beauty and an album as perfect as they come. The reemergence of Motore Immobile heralds what is unquestionably one of the most important reissues of the year.

Near the end of the old millennium, someone once rapped, "Being futuristic these days means being futuristic on your own terms," which is entirely fitting when said rapper records an album of solo piano instrumentals. (Perhaps less instructive is what said rapper went on to say: "Being futuristic means loving worms, saving your sperm, wearing your pubes in a perm.") The former Chilly Gonzales has a hint of Gershwin in his playing, an urbane, contemplative take on the blues that sometime turns into a wry smile. He also has a hint of Satie, the spare and haunted sound of a music box turning slowly to a halt as it comes to the end of its wind. But what he also has is entirely his own, which not only makes this the best album of solo piano instrumentals by a rapper extant but also one of the finest solo piano albums not by a jazz or classical performer. Obviously, there's a duality to any man who lit up stages with Peaches but also played with and produced Jane Birkin and Charles Aznavour, but Solo Piano is a disarmingly wonderful record. - allmusic.com

Mit über einer Million monatlichen Hörern auf Spotify, iTunes undCo zählt Dirk Maassen weltweit zu einem der meist gehörtendeutschen Komponisten der Neo Klassik. Für sein neues AlbumAvalanche, das im Sommer diesen Jahres (13.07.2018) erscheinenwird, arbeitete er mit Lorenz Dangel (u.a. Träger des DeutschenFilmpreises für die beste Filmmusik in dem Film ,Ich undKaminski"), Dirk Mallwitz, Max Knoth und dem DeutschenFilmorchester Babelsberg zusammen. Entstanden ist dabei einAlbum, das erstmals neben dem unverkennbaren Dirk MaassenSolo Piano, welches er mit viel Gefühl und einzigartigem Timing inder für Ihn typischen Art vorträgt, auch epische sinfonischeStücke enthält.

Limited edition for Record Store Day 2018!

Erasure have announced a collaboration with Echo Collective, the Brussels based collective of post-classical musicians best known for their ongoing collaborative work with A Winged Victory for the Sullen, Johann Johannsson, Dustin O'Halloran and Stars of the Lid.The collaboration sees the entirety of Erasure's latest album, World Be Gone, given a post-classical rework. World Beyond was recorded over ten days by Andy Bell and seven performers from the Echo Collective: Margaret Hermant (violin, harp), Neil Leiter (viola), Thomas Engelen (cello), Jaroslaw Mroz (double bass), Gary De Cart (piano) and Antoine Dandoy (vibraphone, glockenspiel).The album was produced by Echo Collective, mixed by Gareth Jones and arranged by the Echo Collective's Gary De Cart, Margaret Hermant and Neil Leiter. Neil Leiter from the Echo Collective explains, "The process of this project was really deconstruction and re-purposing. We started by listening to each track layer by layer, and then, using the layers that inspired us or we found essential, we reconstructed the tracks instrumentally. Each of the instruments in the band setup were chosen for their inherent capacities and roles. Often choosing which layer to put with each instrument was a question of matching roles and colours. By stripping so much away, we were able to find a new space for Andy to fill. The text of the songs became much more important in the overall construction of the songs, and Andy was free to explore more dynamics and vocal range."The tracks featured on World Beyond show award-winning songwriters Vince Clarke and Andy Bell in a more reflective mood, giving the world and recent political upheavals a thoughtful examination. This new collaboration gives a new dimension to the tracks - including fan-favourites 'Still It's Not Over', which tackles the LGBT rights movement post-Stonewall, and 'Lousy Some Of Nothing', a ballad for our post-truth age - but the band's optimism about the future remains clear and bright. Andy Bell explains: "...the reinterpretations have brought such enormous context to the songs, it has created a new place for them."The original idea for the album developed from Vince Clarke, who initially suggested that a single from World Be Gone could be given an orchestral reinterpretation, but as the idea expanded and took shape, he spoke at length to the Echo Collective ahead of the recording. "It was great to talk through ideas with Echo Collective and then see how their arrangements took shape. The collaboration has given elements of the album a whole new feel and Andy's vocals remain as powerful and uplifting as ever" says Clarke.The collaboration is a natural progression from 1987's The Two Ring Circus, a companion EP for the band's second album, The Circus, which included several orchestral interpretations.

As a truly indispensable bookend to any listeners with the slightest interest in experimental music, French culture or the foundations of mechanical songwriting this inaugural release by these Parisian musical revolutionaries not only predicts the future sound of modern composition by almost 60 years but detangles the deepest roots of European popular culture celebrating an important historical family unison in the process. Combining the infant steps of Magma, the sonic blueprint of 1970’s TV theme Picture Box and the sculptural creations of Polly Maggoo this important and groundbreaking 3 track 7” EP takes us back to the very first aural glimpse of the future of pregressive Europe at the hands of physical sound sculptures glaring in the face of premature technology.This EP and its varied three-pronged assault is the first step in the legacy of the Lasry Baschet unison uniting the husband and wife team of Jacques and Yvonne Lasry plus their son Teddy (who would later create Magma with Christian Vander) and hard material sculptors François and Bernard Baschet (who would later work with William Klein). It was this creative unison between visual art and experimental music, witnessing the Lasry family exchange their orthodox music skills in favour of crystal rods, balloons, wet bows and metal sheets, that would potentially change the course of European music which was already on the extreme verge of electrocution with the rise of tape music and embryonic synthesised instrumentation.Promoting the phrase Instruments Non-électroniques (as celebrated on the sleeve of the Cacophonic full-length release 11CACKLP) the Lasry-Baschet collective’s humanistic music (an attitude upheld by composers like Michel Magne) would later spark the imagination of Jean Cocteau leading to installations at the Museum Of Modern Art leading to a huge shift in the way people approached experimental melodic music alongside the efforts of Harry Partch and other music machine makers. The appropriation of their music in art, theatre, ballet, film and television came closest to UK shores when their composition Manège was used as the long running theme for the children’s TV compendium Picture Box spanning three decades (rivalling both The Moomins and The Booktower for the most indelible and nostalgic spooky theme tunes in the history of British TV) by which time Teddy Lasry had independently become one of France’s most creative instrumental composers of all time.

Nachdem Lambert dieses Jahr europaweit Konzerte asugebucht gespielt und sein Debut auf Decca"Sweet Apocalypse" veröffentlich hat, folgen nun auch seine vorherigen Werke Lambert, The LostTapes und Stay In The Dark auf Decca - jeweils auch auf LP.

Nachdem Lambert dieses Jahr europaweit Konzerte asugebucht gespielt und sein Debut auf Decca"Sweet Apocalypse" veröffentlich hat, folgen nun auch seine vorherigen Werke Lambert, The LostTapes und Stay In The Dark auf Decca - jeweils auch auf LP.

Never before pressed on vinyl, IBM 1401, A User's Manual, is one of Jóhann Jóhannsson’s most loved works. Released in 2006, the decade since its release has seen Jóhann establish himself as one of the most important composers in the World today, most notably scoring movies such as Arrival, Sicario and The Theory of Everything.Inspired by the work his father did in the sixties when chief maintenance engineer of one of Iceland’s first computers, Jóhann originally wrote IBM 1401, A User's Manual to accompany a dance piece by long-standing collaborator and friend, Erna Ómarsdóttir. For this album release, he rewrote it for a sixty-piece string orchestra, with a new final movement (built around a poem by Dorothy Parker) and incorporating both electronics, and reel-to-reel recordings made by his father and friends in 1971 of an enormous IBM 1401 mainframe computer singing the hymn Ísland Ögrum Skorið by Sigvaldi Kaldalóns as it was being decommissioned.The first ever pressing of IBM 1401, A User's Manual comes in a deluxe gatefold sleeve, having been reworked by Chris Bigg (v23) from his original design. Pressed on clear vinyl, two album tracks recorded in 2010 with the City of Prague Philharmonic Orchestra at the Rudolfinum, Dvorák Hall in Prague have also been added and are exclusive to this release.

Originally released in 1979 under the experimental label Cramps, “I Fiori del Sole” is a composition for organ and piano by the Italian duo Michele Fedrigotti and Danilo Lorenzini. The encounter between minimalist aesthetic and evocative religious atmospheres make this album one of the most interesting and obscure treasures of the Italian Minimalism. The album was produced by the legendary Franco Battiato with whom the duo Fedrigotti-Lorenzini collaborated the same year for “L’Era del Cinghiale Bianco.”

Henrik Schwarz and !K7 are proud to announce a collaboration that will bare many different musical fruits. The first of these is a brand new label called Between Buttons, curated by Henrik and focused on acoustic sounds and contemporary compositions. Between Buttons will be in partnership with !K7’s own neo-classical hub 7K!, and will kick off with a new mini LP by Schwarz entitled Works Piano, followed by an EP entitled Aphorisms by Syrian artists Khaled Kurbeh & Raman Khalaf Ensemble. Mixing up old and new technologies, experimental and more classical approaches, the label will see Schwarz forge new paths in his own work, as well as curating material from the peers he has worked with over the last 15 years. Mainly made up of acoustic sounds, piano, string quartets, self-built instruments, percussion and intriguing classicist elements with a modern twist, there will be EPs from piano virtuoso Bugge Wesseltoft, as well as other electronic producers wanting to show themselves in a different, more 'unplugged' light. “In these times of constant turbo mode, likes and thumbs-up, we need to go back to basics,” says Henrik. “We want to move away from the idea that relentless hasty productivity is a must, and instead take time to create space, to let ideas mature and to focus the mind on subtler sounds.” Works Piano will be a four track mini album that uses a Yamaha Disklavier as the starting point and reimagines it, reworks it and alters it with various digital and recording technologies. One track is a created with a reactive algorithm and one is composed purely from altered and processed piano sounds.

This is probably one of the few essential recordings in contemporary classic music.

This is probably one of the few essential recordings in contemporary classic music.

This stunning 20th-century piano music was inspired by national traditions but uses the language and form of Western music. It compiles music by AMIRAM RIGAI, MANOLIS KALOMIRI, PAUL BEN-HAIM, ILHAN MIMAROGLU, ANDRE AMINE HOSSEIN and ANIS FULEIHAN."In the countries of the Near East, as in any other country where occidental culture is adoptive, musical composition modeled after its occidental counterpart came into being out of an intellectual necessity: that of nding a substitute for a traditional music which, under the dictate of its very essence, resisted evolution and was consequently in decay.It was logical, as far as both the ideals and the basic methods of this process of substitution were concerned, that the fashioning be done after the examples of the national schools of the late nineteenth-century Europe. The rst stream of the westernized near eastern music was therefore romantic (or post-romantic, or impressionist) in its overall gesture. Regardless of the composition date of each individual opus, all of the works recorded here fall into this category: music inspired by national traditions (musical, or other), displaying at least that intangible called “national character” whenever a national element is not evident, but employing a language and a medium belonging to western music (...)" (original liner notes)

Russian LP of electronic interpretations of ‘classical’ pieces by Claude Debussy and Monteverdi among others . Yuri Bogdanov features on every track, on some tracks together with Edward Artemiev, composer for Andrei Tarkovsky and others. Other tracks feature Vladimir Martynov.“The record is made on the basis of a kaleidoscope: it interspersed with pieces of various styles, genres and eras. For example, these pieces the authors wanted to show a variety of ways to use a synthesizer, starting with the direct simulation of now or once existing instruments, to the establishment of new not yet known sound systems. Thus, the record is like a small musical walk through time, we realized with SYNTHY100 synthesizer (...)” from original liner notes

Another fine reissue of a Chicago classic from Jeff Craven and his Large Music imprint focusing again on the dynamic artistic team of Black Ice Productions. First released in 1992 on Velvet City Records, The Black Ice EP treads more into a deeper and jazzier vibes than their other outings at that time (such as the Union Camp release). A few listens and one can easily recognize the influence that all four tracks had on future labels and artists throughout the mid and late 1990's. This is timeless, pioneering Chicago deep house at its finest and a must have for all collectors.

This release comes on 180g vinyl with a download code.

Flüssig, hypnotisch und virtuos: Der ukrainische Pianist vertont das Thema Wasser.Anknüpfend an das 2013 erschienene Album "Corollaries" und die 2014 veröffentlichte EP "Evertina", verbindet auch "Rivers And Streams" die fließende Handschrift Melnyks mit organischer Vitalität, die als gleichermaßen nuanciert durchdacht gelten darf. Wie der Titel schon andeutet und der Künstler auch selbst herausstreicht, ist das Album den Flüssen und den Strömungen dieser Welt gewidmet - in Anerkennung ihrer Schönheit. Für den ukrainischen Pianisten ist Wasser "das magischste und mysteriöseste von allen Dingen, die wir kennen". Spannend: Das Thema der Veröffentlichung korrespondiert mit dessen Aufnahmetechnik. Melnyk ist bekannt für seine einzigartige "Continuous Music"-Spielweise, die zurecht häufig mit Wasser verglichen wird. Auf "Rivers And Streams" konzentriert sich Melnyk komplett auf seine tiefe Verbindung mit dem Element, bis zu dem Punkt, an dem die Musik amorph und sich ständig verändernd selbst geradezu "flüssig" wird. Von dahintröpfelnden Bächen über sich windende Flusstäler erreicht das Album seinen Höhepunkt in dem majestätischen, 20-minütigen Stück "The Amazon". Jamie Perera an der Akustik- und elektrischen Gitarre und die koreanische Flötenspielerin Hyelim Kim steuern jeweils einen Gastauftritt bei.

10 Years Anniversary repress of the legendary 2nd album by Prepared-Piano artist Hauschka.

With Solo Piano, Glass presents himself "unplugged" - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano.

Musique Plastique (Visible Cloaks, Pedro) rescue a nearly lost soundtrack to a Belgian avant-theatrical work from the 80s. For fans of Nuno Canavarro, Roberto Musci and Vito Ricci. Like the wings Daedalus crafted for his son Icarus, John Gilbert Colman’s score for sampler, voice and chamber orchestra almost melted away completely, disappearing into the tides of time. The album originally served as the score to an avant-garde production of the Greek myth that toured the Belgian theatre circuit in 1986. Director Guy Cassiers cast the play with 45 developmentally disabled actors enrolled at the Krauwelenhof school in Antwerp, working for six months with the young actors (aged 12-17) to discover and develop their talents, creating (by all accounts) a deeply moving piece of visual theatre. Rather than using dialogue, Cassier used movement, costumes and music tell the fable, words were only present as text fragments within the score, spoken by members of the chorus or sung by Rolande van Der Paal. Colman's compositions elevate the experimental narrative with broad shifts in mood, utilizing a pop-concrète style by incorporating sampled squeaking balloons, environmental recordings, tuned percussion, drum computer, and voice to accompany the traditional small chamber instrumentation. The music is reminiscent of other avant-theatrical pieces from that era by Nuno Canavarro, Milesi & Bacalov, Todd Barton, Vito Ricci and Roberto Musci, while standing on its own as a unique and moving piece of minimal music. Remastered DMM pressing.

Neue Musik und Groove – geht das und gibt es das? Der musikalische Grenzgänger Ketan Bhatti nickt. Auf »Nodding Terms« verschmilzt er zeitgenössische Kammermusik mit aktueller Clubmusik. Dazu bat der Komponist, Schlagzeuger und Produzent das deutsch-isländische Ensemble Adapter in sein Studio und involvierte seine Studionachbarn Paul Frick und Jan Brauer von Brandt Brauer Frick in den Produktionsprozess. Die Musiker haben allesamt klassische Instrumente studiert und wissen in Sachen Pop Bescheid. Akustische Spuren werden daher auf wundersame Weise zu elektronischen Tracks. Trockene Beats münden in irisierend schimmernde Ensembleklänge. Genre- und Stilgrenzen verschwimmen und lösen sich auf. Diese Musik führt unweigerlich zum Kopfnicken des Hörers. Nicht nur weil sie groovt. Auch weil sie schlau ist!

Ein Downloadcode ist inklusive.

Limited edition for Record Store Day 2018!

Erasure have announced a collaboration with Echo Collective, the Brussels based collective of post-classical musicians best known for their ongoing collaborative work with A Winged Victory for the Sullen, Johann Johannsson, Dustin O'Halloran and Stars of the Lid.The collaboration sees the entirety of Erasure's latest album, World Be Gone, given a post-classical rework. World Beyond was recorded over ten days by Andy Bell and seven performers from the Echo Collective: Margaret Hermant (violin, harp), Neil Leiter (viola), Thomas Engelen (cello), Jaroslaw Mroz (double bass), Gary De Cart (piano) and Antoine Dandoy (vibraphone, glockenspiel).The album was produced by Echo Collective, mixed by Gareth Jones and arranged by the Echo Collective's Gary De Cart, Margaret Hermant and Neil Leiter. Neil Leiter from the Echo Collective explains, "The process of this project was really deconstruction and re-purposing. We started by listening to each track layer by layer, and then, using the layers that inspired us or we found essential, we reconstructed the tracks instrumentally. Each of the instruments in the band setup were chosen for their inherent capacities and roles. Often choosing which layer to put with each instrument was a question of matching roles and colours. By stripping so much away, we were able to find a new space for Andy to fill. The text of the songs became much more important in the overall construction of the songs, and Andy was free to explore more dynamics and vocal range."The tracks featured on World Beyond show award-winning songwriters Vince Clarke and Andy Bell in a more reflective mood, giving the world and recent political upheavals a thoughtful examination. This new collaboration gives a new dimension to the tracks - including fan-favourites 'Still It's Not Over', which tackles the LGBT rights movement post-Stonewall, and 'Lousy Some Of Nothing', a ballad for our post-truth age - but the band's optimism about the future remains clear and bright. Andy Bell explains: "...the reinterpretations have brought such enormous context to the songs, it has created a new place for them."The original idea for the album developed from Vince Clarke, who initially suggested that a single from World Be Gone could be given an orchestral reinterpretation, but as the idea expanded and took shape, he spoke at length to the Echo Collective ahead of the recording. "It was great to talk through ideas with Echo Collective and then see how their arrangements took shape. The collaboration has given elements of the album a whole new feel and Andy's vocals remain as powerful and uplifting as ever" says Clarke.The collaboration is a natural progression from 1987's The Two Ring Circus, a companion EP for the band's second album, The Circus, which included several orchestral interpretations.

Georges Aperghis is probably still not much associated with music for solo piano. Music-theatre - of an uncommonly original kind, with extended vocal techniques much to the fore - has usually been his stamping ground. The concerns that his operas and other music-theatre compositions have embraced - often focusing around a highly individual approach to words and to all aspects of language, developed with great musical sophistication, resulting in what one might call a kind of sound poetry - are not among those immediately linked to the note-against-note preoccupations of which one tends to think where music for the piano is involved.

Georges Aperghis is probably still not much associated with music for solo piano. Music-theatre - of an uncommonly original kind, with extended vocal techniques much to the fore - has usually been his stamping ground. The concerns that his operas and other music-theatre compositions have embraced - often focusing around a highly individual approach to words and to all aspects of language, developed with great musical sophistication, resulting in what one might call a kind of sound poetry - are not among those immediately linked to the note-against-note preoccupations of which one tends to think where music for the piano is involved.

"Untitled (2014-2016)” is a collection of six musical works, written and/or performed by Daniela Orvin. Selected and curated by sound-artists Thomas Radam & Benjamin Duester, owners of “Gravity’s Rainbow Tapes” label from Berlin. “Untitled (2014-2016)” is a musical journey which starts with a dark sound work, travels through Ambient, Classical and Neo classical piano pieces, and ends with a song, in which Orvin sings in Hebrew. It’s a journey full of personal statements, self reflective like fragments from a diary. A diary written in Berlin, and inspired by the same state of mind that influences her atmospheric minimal and minor art.

Vivaldi's Cello gives listeners a chance to hear a different kind of Vivaldi. Some of the music on this vinyl set was written by the composer to feature the cello of his day, but that's only half the story. Vivaldi's Cello couples those scores with music that Vivaldi originally intended for the violin, the viola d'amore or the human voice. Music that's now been transcribed for the cello

Richter, Beving, Gonzales und mehr.

Beving has been one with the piano from an early age. He was forced to end his musical studies at the conservatory and instead continued at university to get a degree in social sciences. However, his love for his instrument never perished. Where once his goal was to hit as many notes per minute as physically possible, his style of playing has changed over the years, searching for a particular aesthetic essence. His path was illuminated by a piano that Beving inherited from his grandmother when she passed away in 2009. This German instrument insisted on a more gentle touch and a gracious pace, which eventually led Beving to adapt to a more classical vocabulary to tell his story.Joep Beving is a composer and musician, but to the international advertising community he is mostly known as the face of music agency MassiveMusic.

Ashkenazy brilliert auf dieser Aufnahme von Beethovens Piano Konzert Nummer 4 in Art und Weise wie er sein Klavierspiel in den Klangteppich mit einfließen lässt, der ihn von Sir Georg Solti und den Symphonie Orchester Chicago ausgebreitet wird.180g Vinyl!

Ashkenazy gelingt es in dieser Aufnahme den schnellen Stimmungsänderungen in Tschaikowskys Klavierkonzert Nummer 1 durch spielerische Eleganz eine Natürlichkeit zu verleihen. Ashkenazy, Lorin Maazel und das Symphonie Orchester London sind perfekt aufeinander eingespielt und schaffen es so diese Aufnahme zu einem Hörerlebnis besonderer Art zu machen.180g Vinyl!

Spielfreude, Stilgefühl und Natürlichkeit all diese drei wichtigen Komponenten vereitn Vladimir Ashkenazy auf diese Aufnahme zu Mozarts Klavierkonzert Nummer 17 & 21.180g Vinyl!

Ashkenazy gelinkt es in dieser Aufnahme durch sein perfekt abgestimmtes Spiel Scriabins Prometheus die Spannung zu verleihen, die diese Komposition beansprucht, um so die bedrohliche Stimmung die Lorin Maazel (Dirigent) schafft zu verstärken. Begleitet wird Ashkenazy hier vom Londoner Symphonie Orchester und den Ambrosian Singers.180g Vinyl!

Ashkenazys Chopin Klavierkonzert Nummer 2. Aufgenommen 1965 mit dem Londoner Symphonie Orchester unter der Leitung von David Zinman, hat eine tiefe Sensibilität die ihres gleichen sucht.180g Vinyl!

Ashkenazys Aufnahme zu Rachmaninovs Klavierkonzert Nummer 2, ist eine Aufnahme die den großen Komponisten gerecht wird. Begleitet wird Ashkenazy vom Moskauer Philharmonie Orchester unter der Leitung von Kirill Kondrashin.180g Vinyl!

Zum 175-jährigen Jubiläum der Wiener Philharmoniker würdigt Deutsche Grammophon dasWeltklasseorchester mit einem opulenten Querschnitt seines Schaffens.Diese limitierte 6 LP Box, entstand in enger Zusammenarbeit mit dem Orchester. Als Mischung ausZeitreise zu legendären Einspielungen und Raritätensammlung eröffnet sie Kennern eine neuehistorische Perspektive. Im Gegensatz zu der Wiener Philharmoniker Sinfonie-Edition (2012), reichendie Einspielungen dieser Box zurück in die 50er Jahre, mit Einspielungen prägender Dirigenten wieHerbert von Krajan oder Claudio Abbado. Daneben interpretieren weitere großeDirigentenpersönlichkeiten Hauptwerke der Orchestermusik:Mit: Kleiber (Beethoven, Sinf. Nr. 7), Bernstein (Beethoven, Sinf. Nr. 5.+ 6 ), Muti (Bruckner, Sinf. Nr.2),Karajan (Wagner, “Isoldes Leibestod“),Abbado (Brahms,“Ungarische Tänze“) u.v.a.m.+ 4 seitiges Booklet mit dem ersten Foto der Wiener Philharmoniker aus dem Jahre 1864

Classic recording of Brahms: The Four Symphonies by Herbert von Karajan & Berlin Philharmonic Orchestra.

Cathy Berberian turned toward this repertory, critically, but with love. And even if she maintained a certain dose of ironical distance, she never stooped to parody. It would be a mistake to think she had any similarity to Paolo Poli in La Nemica. She had a repertory to explore according to the instructions of Proust, and she explored it with the same devotion that she had applied to the music of Berio or Bussotti. In this recital she explores the most varied vocal territories: from traditional songs to Berio and to… the Beatles. In this labyrinthine voice is a release for all vocals lovers.

Sofa has been following Vilde&Inga since they started playing together back in 2010 and when they contacted us with the music from Silfr, there was no doubt in our minds. On Silfr they continue to develop the remarkable interplay from their first album, Makrofauna (ECM), but this time they turn the level up a couple of notches. On Silfr Vilde&Inga presents chamber music of international caliber. Each piece on the album dives into a microclimate which eventually reveals small musical pearls. The sound of the two is even more rich than ever and its impressive how the interplay is a perfect tool to enhance their characteristic, organic aesthetics. Sofa is very proud to invite Vilde&Inga to join the catalog with this wonderful album.

When speaking of most artists, critical value is generally gauged by evaluating contributions to existing fields. Bruce Nauman is different. His influence is singular. The change his ideas provoked, unequaled. Since the mid 1960's, he has laid the groundwork in thought, context, practice, and materiality, for nearly every fine-artist that has followed in his wake. He is the towering pillar of conceptual thinking. Even those who do not directly draw on the ground he gained, must contended with a world in his image.Initially issued by Tanglewood Press in 1969 - a component of the art multiples edition 7 Objects/69 (also including David Bradshaw, Eva Hesse, Stephen Kaltenbach, Alan Saret, Richard Serra, and Keith Sonnier), Soundtrack from First Violin Film is a crucial element in Nauman's diverse the canon of contributions - bridging the emerging practices of performance, video, and sound. For an artist smashing boundaries and building anew, it is a near perfect work. Blume's release (along with the Die Schachtel's one), marks the first time this seminal work has been available to a broader audience, making it a historic event. Soundtrack from First Violin Film, while resembling music, is one of the earliest gestures of sound art as it has come to be understood. It falls within Nauman's larger body of solitary actions and performances. In 1968, the artist moved briefly to New York, occupying Jasper Johns' then vacant studio in the Hamptons, beginning to build the body of work for his first solo show at Leo Castelli Gallery - documenting them in what became the very first works of video art. Within the larger body of effort, emerged a series of works featuring him playing the violin. It is from this world, that the LP Soundtrack from First Violin Film, with its disembodies sounds, grew. Nauman's violin works, as the exist in the world, are only distant cousins of performance and compositions. They are objects - doubling the signifiers of music and the body back upon themselves. Rather seeking entirely new and liberated sonic realms, they employ conceptual practice, instrument, and rhythm to strike direct confrontation - sculpting something far more challenging and difficult to define. These works resemble music, challenge expectations of it, but are not that thing. They could be understood as a conceptual inversion of recordings by John Cage or of Musique Concrète. Rather than seeking to utilize non-instrumental sources to create music, Nauman used instrumental sounds and references to make something which is not music at all the figuration of an idea - highlighting the dimensional possibilities of meaning, and the elasticity of language. In addition to being seminal works of conceptual art, among the earliest gestures which propose sound as a singular material surrogate for painting and sculpture, Soundtrack from First Violin Film - which also includes the works Violin Problem Two (Playing Two Notes Very Close Together) and Rhythmic Stamping (Four Rhythms in Preparation for Video Tape Problems) is a member of the body of work which established the terms for nearly all Sound Art to follow. Often overshadowed by its creator's astounding body of work during this period, when isolated, it is profoundly important gesture with the history of art and experimental practice.Edition of 300 copies, the LP comes in full color cover with printed inner sleeve housing a Nagaoka anti-static record sleeve, yellow colored vinyl and an original insert that functions as Obi as well.

For his latest project, drummer Julian Sartorius hiked for ten days through Switzerland. In his luggage: two drumsticks and a curiosity about the sounds they might produce along the way. Out of the beats collected en route he made the album «Hidden Tracks: Basel – Genève», an experimental sound collage that maps Switzerland far from the usual stereotypes. In the distribution of the record Sartorius is also charting new territory: It will not only be sold as a vinyl record but also as a hiking map with a download code.For his last major solo project – «Beat Diary» (2012 / Everest Records) – Julian Sartorius left the studio; each day for one year he played a track in his immediate surroundings. For the album «Hidden Tracks: Basel – Genève» Sartorius progresses a thousand steps further: In October 2016 he donned his backpack and hiked for ten days from Basel to Geneva via the Jura Ridgeway Trail (270 kilometres). For sound sources he used what he found en route: tree trunks, hiker turnstiles, empty silos, dry corn stalks – each object evoking its own voice. As an explorer of the quotidian, Sartorius evoked with his drumsticks a universe of sound that’s hidden to the regular hiker. With a backpack full of recorded rhythmic patterns and sound sources Julian Sartorius returned to the studio to create the album «Hidden Tracks: Basel – Genève». Sartorius edited the different audio files, layering and combining them together. The result is an experimental sound collage in which every track represents one day of hiking and where the familiar meets the previously unheard.The album «Hidden Tracks: Basel – Genève» will be released in June 2017 by Bernese label Everest Records. It will be available in two formats – as a hiking map with a download code and as a regular 12” vinyl. The map, designed by Silvio Brügger, charts and retraces the paths that Sartorius walked, inviting people to follow in the footsteps of the artist. In addition, one track of the album will be released as an artwork postcard that can be played as a vinyl on a record deck. The album release tour will see Sartorius guide an audience along a short hike circuit during which Sartorius will improvise with objects he finds along the way. The audience participants will follow while listening using headphones that receive audio from a microphone Sartorius trains on the objects. These hikes will start and end at selected music venues.

Pianist Oli Kuster (Menschmaschine / Oli Kuster Kombo / Astronauten / Züri West) and musician and sound artist Robert Aeberhard (dadaad. an open tuning / Fitzgerald & Rimini / Trummer) met for a special kind of cooperation: «Okra» is a duo for piano and sounds. The grand piano as a sophisticated and well-established instrument meets raw soundscapes, made of field-recordings collected from all kinds of places in the world.Sounds and noises are distinguished from tones by their origin of irregular oscillations of arbitrary frequencies and amplitudes, whereas tones show periodic oscillations. The combination of sounds, noises and tones when played by «Okra» results in organic and interwoven creations, reduced and fragile moments. An enchanting, yet disturbing kind of “Traummusik” emerges, a film of acoustic pictures, inevitably taking the listener on a journey.The spaciousness of their music led the duo to play their concerts in surround sound, by placing loudspeakers also in the back of the audience. With this setup, the spatial richness of their music can be perceived as a physical experience. Consequentially, the album «Okra» is mixed in surround sound.

Poppy Ackroyd ist eine britische Musikerin und Komponistin. Sie studierte Klavier an der University ofEdinburgh. Nach dem Studium wurde Ackroyd Mitglied im Hidden Orchestra. Auf ihrem Debütalbum"Escapement" (2012) spielte sie vor dem Hintergrund von Field Recordings Piano und Geige - wobei spielenrecht weitläufig zu verstehen ist, da sie ihr Klavier mit ungewöhnlichen Mitteln bearbeitet. Dazu gehören dasZupfen, Klopfen, Streichen und Sägen. Auf ihrem zweiten Album "Feathers" (2014) spielte sie auchClavichord, Cembalo, Spinett und Harmonium. Ackroyds Aufnahmen kennen Brüder im Geiste wie LudovicoEinaudi, Philipp Glass, Nils Frahm, Silvain Chauveau, Max Richter sowie Hauschka und werden dem weitenFeld zwischen Minimal Music, Modern Classical, Elektronik und Popmusik zugeordnet. Über ihre eigenenArbeiten hinaus schreibt sie auch Musik für Tanz-Performances, Theater, Film und Radio. "Sketches"versteht sich als Mini-Album, das die Zeit bis zum nächsten "richtigen Langspieler" im Oktober 2017verkürzen soll. Es enthält neben vier neuen Kompositionen sechs überarbeitete, das heißt neu fürakustisches Solo-Piano arrangierte Stücke der beiden vorangegangen Alben.

Limited edition of 500 copies only!In the 70′s, the Italian public television RAI used to broadcast disturbing paranoiac dramas, weird documentaries on the bottom of the sea and indigestible so-called “educational” movies. Obviously, all that stuff needed some music. Or “sonorizzazioni” (soundtracks), as they were called. These soundtracks were handled by shady characters, on the border between avant-garde classical, electronic space age and a healthy Italian pop touch. Some names are familiar: Ennio Morricone, for example. Or the mythological Piero Umiliani, too.But the biggest of all was Egisto Macchi. His Voix, a ghostly fresco of lunar vocals and abstract phonemes, is one of the masterpieces of the Italian “library music”.“ESP” is a four-part television series produced by Rai in 1973, directed by Daniele D'Anza, and aired from Sunday, May 27 1973 to Sunday, June 17, 1973 on the National Program. Music by Egisto Macchi.

Joachim Roedelius gehört zu den Übervätern der Kosmischen Musik und des Krautrock. Mit seinenBands Cluster und Harmonia gestaltete er diese Musikstile maßgeblich mit. Heute blickt Roedelius aufeine über hundert Releases umfassende Diskographie zurück, und die Liste seiner musikalischenPartner reicht dabei von seinem langjährigen künstlerischen Weggefährten Dieter Moebius überinternationale Stars wie Brian Eno bis zu jüngeren Musikern wie Tim Story. Arnold Kasar ist fastdreißig Jahre jünger und ein Kind des Crossover im Berlin der 1990er Jahre. Er brach die Grenzezwischen elektronischer Tanzmusik und Jazz auf, er musizierte (und musiziert noch) mit Micatone,Nylon und Friedrich Lichtenstein. Bei ihren gemeinsamen Aufnahmesitzungen in Baden bei Wienentschied Roedelius sich sehr früh dafür, auch Klavier zu spielen. Kasar hatte die Idee, das Klavier mitFilz zu präparieren. So entstand der einzigartige, zarte, intime Klang des Albums. »Joachim[Roedelius] hat einen schönen, weichen Anschlag. Er hatte nie im Leben auch nur eine StundeKlavierunterricht. Es gibt keine Komposition bei ihm. Er macht etwas mit dem Klavier, was er auch mitden Synthesizern macht. Ich kann das nicht erklären, aber es bewegt etwas in mir.«

Claude Debussy (+1918) was one of the most popular and forward thinking composer associated with impressionist music. His innovative and at this time new way to compose music with non traditional scales and chromaticism inspired countless artists from the likes of Steve Reich, Philip Glass, Miles Davis and Herbie Hancock. Remarkable attributes of his music were i.e. the usage of parallel chords, bitonality and many compositions of whole-tone and pentatonic scales and all this surely reminds us on contemporary electronic music where you hardly find limits or boundaries when it comes to traditional, harmonic sounding scale tone music.

Han Swolfs turns our senses to more classic and jazz infused pieces, improvised almost entirely on winged piano. “Gazebo Compositions” can be considered a resting point after Han’s more energetic electronic releases and grasps back to his roots. Inspired by a video-work by Jef Cornelis, Han translates moods and impressions of memories of his youth and his relation to the artist using a technique similar to Ecriture Automatique. Each note sprouts inspiration for the next one and composes the full story with uppers and downers. Belgian duality in it’s bloom for this summer release.Written and performed by Hantrax. Mastered at Dubplas & Mastering Berlin. Pressed on (180g) 12inch black vinyl with a video still cover taken from “De Koninklijke serres van Laken 1877-1902” made by Jef Cornelis in 1974. Packed in a silk-screened transparant over-sleeve.